So I was working on a new piece of music the other day... I start composing the piece in D# maj and the verse section on bass just moves back and forth forth between G (minor 3rd) and D#. I get some basic placeholders laid out and invite a singer over to try some melodies. He starts singing in a G maj scale over it, and it sounds good with this interesting minor tension that actually fits the song. The problem comes in in trying to then write other melodies around it for additional instruments. I pull all other instruments out to play over the bass and vocals with a guitar and behold, Gmaj and D#maj chords work over both bass and vocal. So note relationships I started with where key of D# maj and starting the progression on the G (minor 3rd). The vocals come in and seemingly change the key of the song to G maj with an aug 5th of D#. I’m a typical “took a few theory classes in college” kinda guy but I was wondering if there is a good explanation as to why this seems to work well. It does have a sense of tension to it but not really the dissonance you’d expect from having an aug 5th in a bass line. Hoping that I can learn why this works so that I can use it intentionally rather than Bob Ross style “happy mistake”.